The parts of ingest you shouldn't have to think about — and a couple you've never had to ask for.
Every file is copied with a live checksum — one read, not two — then confirmed byte-for-byte before it counts as safe. SHA-256 verification isn't a setting: it's always on, on every plan, including free. The moment the card is truly done, ShotGrab ejects it for you.
Read more: how SHA-256 checksum verification works and how to eject an SD card safely.
Set a second drive, a third, a NAS — ShotGrab copies to all of them in a cascade, each one verified independently against the already-written primary copy, not re-read from the card. The card leaves your reader as fast as the fastest drive allows, and a slow secondary never holds the others back.
Read more: the 3-2-1 backup rule.
Files land exactly where they belong — by date, camera, client, project, whatever pattern you choose — sorted before you've even opened the folder. No flat dump of four thousand files to sort through after a twelve-hour day. Shooting past midnight? A clip shot a few hours after the previous one can stay in the same day's folder, so a wedding that runs into the small hours doesn't get split across two days.
Read more: the best folder structure for photo and video projects.
Pick a project once. Every card you connect after that gets recognized and imported on its own — while you keep editing the ones already copied. No dialogs, no re-choosing a destination for card six of the day.
Every project keeps an import report — file name, size, checksum, camera and arrival time — one CSV you can hand to a client or a production. And because an archive can change after the fact, the integrity check rereads it anytime and compares it against what was recorded at copy time, without opening a single file by hand.
Read more: what a checksum proves.
Cameras rarely report their own name the way you'd write it by hand. A short list of corrections — set once, applied globally — cleans up a model or lens name wherever it lands in a folder path, on every project from then on. The same settings page also lets you exclude a file type entirely, so proxy files or thumbnails never reach the archive. Original filenames are never touched — only the folder path around them.
If a second card shows up in a different reader while the first is still copying, ShotGrab doesn't make it wait — it opens a parallel lane, a second copy engine importing into the same project at the same time. It only holds a card back if the project itself isn't ready, never because another card got there first.
Read more: how card offload apps compare.
The interface speaks thirteen languages, following your Mac's own language setting automatically. Path tokens like the date, camera or client name go through your own find-and-replace corrections before they ever reach a folder — and anything left blank simply disappears from the path instead of becoming a stray "Unknown".
Read more: import footage into DaVinci Resolve automatically and ShotGrab for DaVinci Resolve.
Standing at the camera with a card in your hand and no idea whether you already copied it? Right-click the card in ShotGrab and choose “Mark for formatting”. The camera will see it as unformatted and offer to format it — while a card that looks normal is one you leave alone. ShotGrab only allows it when every file on the card has a verified copy in your archive, it deletes nothing, and you can undo it with one click until the camera formats the card.
Read more: how marking a card for formatting works.
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